Costumes

The use of a simple costume can be worn in your Major Study Composition. A costume can enhance the visual design and the thematic intent of your ‘Work’ and should assist the overall purpose and expressivity of the movement. The following are the most basic considerations in the choice of costume:

• Shape
• Colour
• Material

It is imperative that the use of a costume does not hinder the dancer or the examiner’s ability to see the body shapes.

As dancers, we generally rehearse in clothing that we feel comfortable in and when suddenly dressed in an unfamiliar costume the whole sense of movement may change. Costumes should move with the dancer/s, so that they feel able to move freely and comfortably. Therefore, rehearsal in costume is imperative! You should also be aware of maintaining the dignity of the performer/s.

The colour of the costume can assist in communicating the thematic intent of the ‘Work’. As a choreographer, you must give thought to what colour can suggest. For example, crimson red may be associated with lust, love or blood. Pale blue can be associated with a calm river, the sky or dreams. Metallic colours can suggest mechanical themes, where pastels can be used for childhood intent.

The fabric that is chosen can also assist in communicating intent. Stiff fabrics such as vinyl can created a structured ‘look’, communicating restriction or manmade structures. Where as light chiffon can create an austere, floating feeling to the ‘Work’ communicating a dream like quality.

Once again, the use of a costume should be simple. We would discourage the use of ‘flashy’ sequins and glitter as it is important that the costume does not distract the examiner. It should be integral to the ‘Work’ and if all possible, be used in conjunction with the choreography. For example, a skirt may be scrunched by the hands to communicate anxiety or the dancer may playfully throw their skirt to communicate a chase.

'Dance is a visual artform. Therefore what you present in the performance space will help you to convey your thematic intent not only with the shapes and lines that the body makes, but with the whole visual aesthetic.'

Ashley 2004.